State Champ Radio Chart Beat
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Hozier doesn’t just have his first No. 1 on the Billboard Hot 100 – he’s also topping Billboard’s Streaming Songs chart for the first time, as “Too Sweet” lifts to the summit of the April 27-dated survey.
“Too Sweet” reigns with 35.6 million official U.S. streams accumulated April 12-18, according to Luminate.
Though that’s a drop from the previous frame’s count of 36.7 million listens April 5-11 (the song’s top single-week sum to date), the song rules thanks to a more precipitous drop for the previous No. 1, Future, Metro Boomin and Kendrick Lamar‘s “Like That.” While “Too Sweet” drops 3%, “Like That” plummets 13% to 34.8 million streams April 12-18.
“Too Sweet” marks Hozier’s first No. 1 on Streaming Songs, which began in 2013. “Take Me to Church” had been his previous best, peaking at No. 2 in 2015.
Between “Take Me to Church” and “Too Sweet,” he had an additional appearance on the ranking in the form of Noah Kahan’s “Northern Attitude,” on which he’s featured via the song’s late-2023 redo; the track reached No. 23 last November.
Concurrently, “Too Sweet” rules Rock Streaming Songs and Alternative Streaming Songs for a fourth week each after debuting atop both tallies dated April 6.
As previously reported, “Too Sweet” takes over No. 1 on the multimetric Hot 100, also Hozier’s first ruler, surpassing the No. 2 peak of “Take Me to Church.” It has reigned on Hot Rock & Alternative Songs for all four frames since its debut.
The multiformat radio hit continues to climb multiple rankings; its peaks so far include No. 13 on Adult Alternative Airplay, No. 20 on Rock & Alternative Airplay, No. 23 on both Pop Airplay and Adult Pop Airplay and No. 26 on Alternative Airplay.
“Too Sweet” is featured on Unheard, a four-song EP featuring leftover tracks from the singer-songwriter’s 2023 album Unreal Unearth. Premiered March 22, Unheard has earned 127,000 equivalent album units to date.
Lay Bankz’s “Tell Ur Girlfriend” is a No. 1 song on the TikTok Billboard Top 50 chart, vaulting from No. 11 to the top of the ranking dated April 27.
The TikTok Billboard Top 50 is a weekly ranking of the most popular songs on TikTok in the United States based on creations, video views and user engagement. The latest chart reflects activity April 15-21. Activity on TikTok is not included in Billboard charts except for the TikTok Billboard Top 50. As previously noted, titles that are part of Universal Music Group’s catalog are currently unavailable on TikTok.
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“Tell Ur Girlfriend” rules after debuting at No. 11 on the April 20 tally. It unseats Alek Olsen’s “Someday I’ll Get It,” which had reigned for four straight weeks.
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The Lay Bankz song, which was released in February, has mainly benefited from a dance trend highlighting the chorus, with influencer Charli D’Amelio one of the high-profile creators getting in on the craze in recent days.
Concurrently, “Tell Ur Girlfriend” debuts at No. 58 on the multimetric Billboard Hot 100, Bankz’s first appearance on the ranking. It accrued 8.8 million chart-eligible U.S. streams April 12-18, a boost of 56%, according to Luminate.
Artemas’ “I Like the Way You Kiss Me,” meanwhile, rises to a new peak of No. 2 on the TikTok Billboard Top 50. Despite continuing to ascend the chart, the song still lacks a major throughline trend, with uploads using the tune ranging from memes to general-interest clips. The song takes another step toward the top 10 of the Hot 100, shooting 16-12 on the latest survey, paced by 19.8 million streams, up 5%.
G-Eazy’s “Lady Killers II” remains at No. 3 on the TikTok Billboard Top 50, while Bakar’s Summer Walker-assisted “Hell N Back” and FloyyMenor and Cris Mj’s “Gata Only” round out the top five at Nos. 4 and 5, respectively. Both songs were covered in the previous chart article; “Hell N Back” remains centered around a relationship- or friendship-based trend using Walker’s “I was over love, I had enough, then I found you” lyric, while “Gata Only” stems from a dance trend.
Aside from “Tell Ur Girlfriend,” the other tune that’s a newcomer to the TikTok Billboard Top 50’s top 10 is a classic in Redbone’s “Come and Get Your Love,” which vaults to No. 8. The ‘70s tune has been a mainstay on user-generated content platforms since its synch in the 2014 movie Guardians of the Galaxy, and its latest resurgence is based on both dancing and lip-synching clips.
“Come and Get Your Love,” which reached No. 5 on the Hot 100 in 1974, accumulated 3.2 million streams April 12-18, a 26% leap.
The week’s top debut on the TikTok Billboard Top 50 is Daren Barenboim and the Chicago Symphony Orchestra’s performance of “Verdi: Messa da Requiem: II. Dies Irae,” which bows at No. 14. Its premiere is thanks to a meme trend on TikTok soundtracking a painting of a courtroom scene, usually with the caption “She won’t stop saying it” or something similar.
And Taylor Swift? She’s on the latest chart as well, with “I Can Do It With a Broken Heart” and “Fortnight,” the latter featuring Post Malone, debuting at Nos. 25 and 50, respectively, via three days of data after the April 19 premiere of Swift’s new album, The Tortured Poets Department. More entries – as well as rises for both songs – are possible on the May 4-dated TikTok Billboard Top 50, which will cover metrics accumulated April 22-28.
See the full TikTok Billboard Top 50 here. You can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.
On April 25, 2009, Rascal Flatts’ “Here Comes Goodbye” ascended to No. 1 on Billboard’s Hot Country Songs chart, becoming the 10th of the trio’s 12 leaders. The song was written by Clint Lagerberg and Chris Sligh (the latter a finalist on American Idol in 2007) and produced by Dan Huff. It introduced Rascal Flatts’ […]
Taylor Swift sets a new career mark in the U.K., as The Tortured Poets Department mounts a massive lead in the national chart race. In just three tracking days, Tortured Poets (via EMI) notches a U.K. career best opening week for Swift with more than 220,000 combined units, according to a rare sales flash published by the Official Charts Company.That’s well ahead of Swift’s previous first-week best, for Midnights, which accumulated 204,000 combined units in a seven-day stretch following its release in 2022.Tortured Poets has a long way to go if it is to compete with the U.K.’s all-time fastest sellers.
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The record holder is Adele’s 2015 effort 25, with 800,000 first-week units; ahead of Oasis’s 1997 release Be Here Now, with 696,000 units (collected in just three sales days); and Ed Sheeran’s album from 2017 ÷ with 670,000 units, respectively. As previously reported, Swift should sweep to a U.K. chart double. Tortured Poets is already the U.K.’s fastest-selling album of 2024 so far, and Swift should lock up the top three spots on the national singles chart, with “Fortnight” featuring Post Malone, “The Tortured Poets Department,” and “So Long, London,” respectively. “Fortnight” should become TayTay’s fourth U.K. No. 1, after “Look What You Made Me Do” (from 2017), “cardigan” (2020) and “Is It Over Now? (Taylor’s Version)” (2023).
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And, with Tortured Poets, Swift should score a 12th U.K. No. 1 album, equaling Madonna at the top of the leaderboard of solo female artists. She’s also the first and only artist this century to rack up 10 U.K. No. 1 albums.
Swift’s 11th studio album has already set a slew of records, including a new, global streaming mark on Spotify, blasting away with more than 300 million streams in a single day, and shifting 700,000 copies on vinyl in its first week on sale in the United States.All will be revealed when the Official U.K. Albums Chart is published late Friday, April 26.
Newcomers Oscar Ortiz and Edgardo Nuñez combine efforts for their first No. 1 on any Billboard chart as “First Love” ascends 3-1 on the April 27-dated Regional Mexican Airplay ranking. The song was released Dec. 23 via BadSin Records, the music management company co-owned by Ortiz and his brothers Kevin and Gerardo, both frequent Billboard charts visitors.
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“I feel grateful and honored that Edgardo Nuñez believed in my composition and I cannot say ‘thank you’ enough to my fans for supporting me in this dream,” 21-year-old Ortiz tells Billboard.
“First Love” accrued 7.95 million audience impressions in the U.S. toward the April 27 Billboard ranking (April 12-18 tracking week), according to Luminate; that’s a 16% gain from the week prior. The song ejects Banda MS’ “Tu Perfume” from the penthouse, which falls to No. 2 with a 6% dip, to 7.1 million impressions.
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Notably, “First Love” becomes just the fifth song by two co-billed soloists to lead Regional Mexican Airplay this decade. Here’s the list of those equal-billed collabs since 2020:
Title, Artist, Peak Date, Weeks at No. 1“Dime Cómo Quieres,” Christian Nodal & Angela Aguilar, Jan. 30, 2021, five“Duele,” Alejandro Fernéndez & Christian Nodal, April 24, 2021, one“Tus Desprecios,” Pepe Aguilar & El Fantasma, Sept. 25, 2021, one“Si Ya Hiciste El Mal,” Luis R Conriquez & Jessi Uribe, Nov. 19, 2022, one“Según Quién,” Maluma & Carin León, Dec. 16, 2023, one“La Intención,” Christian Nodal & Peso Pluma, March 30, two“First Love,” Oscar Ortiz & Edgardo Nuñez, April 27, 2024,
“First Love” caught immediate viral attention through TikTok, where Ortiz was named #Rompiendo Artist of the month in March by TikTok. To date, the song has sparked nearly 600,000 videos. Streams, however, experience a 4% dip during the tracking week, to 3.5 million official U.S. clicks.
As “First Love” rises to No. 1 on Regional Mexican Airplay, it takes BadSin to its second champ in 2024 and 13th overall. Earlier in this year, the indie label topped the ranking through Ortiz’s brother Gerardo Ortiz’s “Ahí No Era,” for one week in charge in February.
Unlike Oscar Ortiz, whose first and only Billboard entry arrived through “First Love,” Nuñez has placed four other tracks on the charts, including “El Humo De Gallo,” with Banda Los Sebastianes de Saul Plata, which debuts at No. 34 on Regional Mexican Airplay on the current list.
Beyond its Regional Mexican Airplay coronation, ‘First Love” climbs 9-5 on the overall Latin Airplay chart, for its new peak, with an 18% gain in overall impressions, to 8.32 million.
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Ten weeks after Prince Royce and Gabito Ballesteros monopolized Billboard’s Tropical Airplay chart with “Cosas De La Peda,” the song slides to the top of the overall Latin Airplay chart (dated April 27), up from No. 3 a week ago. The hit is the seventh single from Royce’s album, Llamada Perdida, the 23-track set that placed the bachata singer back in the top five on Tropical Albums after a four-year pause (No. 2 debut in March).
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“Cosas De La Peda,” (loosely translating to ‘drunken matters’), shoots to No. 1 on the overall Latin Airplay chart thanks to a 27% boost in audience impressions, to 10.9 million, logged in the U.S. in the week ending April 18, according to Luminate. With to the almost 2 million additional impressions, the song wins the weekly Greatest Gainer award on the Latin radio ranking for the largest increase in audience among its 50 titles.
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Further, thanks to its radio surge, “Cosas De La Peda” debuts at No. 46 on the multi-metric Hot Latin Songs, which ranks the most popular Latin songs of the week by blending streaming, airplay, and sales activity.
Royce and Ballesteros’ first team-up gives the regional Mexican soloist his maiden No. 1 on Latin Airplay. The new achievement arrives 10 weeks after he picked up his first champ on any Billboard radio ranking, as “Cosas De La Peda” rose to the top of Tropical Airplay on the Feb. 24-dated list, where it has held strong since.
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“Cosas” is a cause for celebration for Ballesteros, who joins a select group of regional Mexican artists who likewise achieved their premiere No. 1 on Latin Airplay in 2024 among the seven rulers this year including a regional Mexican act (whether through a regional Mexican song or a collab outside the genre). Those new highfliers comprise Xavi, whose “La Diabla” led for two weeks (starting the Feb. 10-dated list) and siblings Leonardo and Angela Aguilar through their Becky G collab, “Por El Contrario,” for one week atop (March 9).
Prince Royce moves ahead with 17 No. 1s on Latin Airplay and breaks from a tie with Carlos Vives for the second-most champs among tropical artists in the survey’s almost 30-year history, where Romeo Santos continues at the lead with 21 No. 1 hits. Here are those chart toppers:
21, Romeo Santos17, Prince Royce16, Carlos Vives14, Marc Anthony11, Gloria Estefan6, Juan Luis Guerra
In its 10th consecutive week atop Tropical Airplay, “Cosas” continues to hold the record for the longest-leading song in 2024 thus far.
Papercuts, the first greatest-hits compilation from Linkin Park, debuts at No. 1 on Billboard’s Top Hard Rock Albums chart dated April 27.
The set bows with 44,000 equivalent album units earned in the United States in its first week (April 12-18), according to Luminate. The majority (23,000) is from streaming equivalent units, with 21,000 in album sales.
Linkin Park now boasts a record-rewriting eight No. 1s on Top Hard Rock Albums, which began in 2007. The band pulls into sole possession of the most rulers in the tally’s history, passing Five Finger Death Punch, Foo Fighters and Pearl Jam; perhaps not to be outdone for long, Pearl Jam’s latest LP, Dark Matter, was released April 19 and will challenge for the top spot on the May 4 ranking.
Most No. 1s, Hard Rock Albums:8, Linkin Park7, Five Finger Death Punch7, Foo Fighters7, Pearl Jam6, Disturbed6, Korn
Linkin Park last led Top Hard Rock Albums with Meteora, following its 20th-anniversary reissue last April.
Papercuts also starts at No. 2 on Top Rock & Alternative Albums, Top Rock Albums and Top Alternative Albums. As previously reported, it debuts at No. 6 on the all-genre Billboard 200, where it’s the band’s 11th top 10 and first since One More Light debuted at No. 1 in 2017.
The 20-song Papercuts includes singles from the majority of the band’s studio albums, as well as the previously unreleased “Friendly Fire” and outtake “QWERTY,” from the group’s 2006 EP LP Underground 6, a fan club-only collection. The new release’s “Lost” was released in 2023 on the 20th anniversary reissue of Meteora.
“QWERTY” concurrently debuts at No. 5 on the Hot Hard Rock Songs chart with 1.1 million official U.S. streams and 1,000 sold April 12-18. “Friendly Fire,” released Feb. 23, rises 42-37 on Hot Rock & Alternative Songs (after it debuted at its No. 13 high on the March 9 ranking) with 6.5 million radio audience impressions, 806,000 streams and 1,000 sold. It spent two weeks atop Rock & Alternative Airplay and one week at No. 1 on Mainstream Rock Airplay.
Linkin Park’s music rose 15% to 42.9 million official on-demand U.S. streams April 12-18, boosted by interest in not only the newly released “QWERTY” but also the band’s multi-album string of hits cataloged on Papercuts. The most-streamed Linkin Park song of the week was “Numb,” which accrued 4.7 million streams, up 9%. It’s just a tick ahead of “In the End,” also at 4.7 million streams rounded off, a boost of 10%. “One Step Closer” was third with 3 million streams, a 15% jump.
In all, the 20 songs on Papercuts encompass 10 of Linkin Park’s 12 career No. 1s on Alternative Airplay. The tracklist omits only three-week ruler “Lying From You” (2004) and four-frame leader “The Catalyst” (2010). As for Mainstream Rock Airplay, Papercuts features all but two of the band’s 10 No. 1s, both from 2014’s The Hunting Party: “Guilty All the Same” (featuring Rakim) and “Until It’s Gone.”
One More Light remains Linkin Park’s last studio album. Frontman Chester Bennington died two months after its May 19, 2017, release.
Singer-songwriter Forrest Frank hits the top five with his maiden entry on Billboard’s Top Christian Albums chart.
The Houston native and Baylor University graduate’s four-song EP God Is Good enters the April 27-dated chart at No. 5. Released April 12, it earned 4,000 equivalent album units in the U.S. in the week ending April 18, according to Luminate.
The 28-year-old — who is also in the “Sunday Best” duo Surfaces — initially received traction by posting videos on social media. He boasts over 500,000 followers on TikTok and 2 million on Instagram.
The EP’s “Good Day,” Frank’s first single promoted to Christian radio, climbs 23-19 for a new high on the Christian Airplay chart, up 10% to 1.4 million audience impressions. On Christian AC Airplay, it lifts 29-24 (up 17% in plays).
On the streaming-, airplay- and sales-based Hot Christian Songs survey, “Good Day” ranks at No. 3, after hitting No. 2 in March. It drew 2.7 million streams (up 8%) and sold 1,000, as it tops Christian Digital Song Sales for an 11th week.
Also on Hot Christian Songs, Frank’s “Up!,” with Connor Price, ranks at No. 10, after reaching No. 8, marking Frank’s other top 10 to date. (The song is not on God Is Good.)
Concurrently, the three additional tracks on God Is Good chart on Hot Christian Songs: the title track, with Caleb Gordon, a debut at No. 19; “Always” (new No. 22 high); and “Low Key” (new No. 36 best).
Frank is currently working on an LP expected to be released this year.
Armstrong’s Third No. 1
Jor’Dan Armstrong earns his third total and consecutive Gospel Airplay chart-topper with “You.”
The Atlanta-based artist, originally from Baton Rouge, La., previously led with his duet with Erica Campbell, “You,” for three weeks in December 2022 and “My God” for two frames beginning December 2021.
Armstrong logged his first of five Gospel Airplay entries in 2014 as featured on Uncle Reece’s “I Can’t Help Myself,” which hit No. 21 that June. He followed with “So Much Luv,” which reached No. 19 in October 2017.
Welcome to Billboard Pro‘s Trending Up newsletter, where we take a closer look at the songs, artists, curiosities and trends that have caught the music industry’s attention. Some have come out of nowhere, others have taken months to catch on, and all of them could become ubiquitous in the blink of a TikTok clip.
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This week: Artists and songs mentioned across the 31 tracks of Taylor Swift’s new double album see spikes, while Bossman Dlow and Tyla both score follow-up hits, Kate Bush is killing it on TikTok again and more.
Taylor Swift’s ‘Tortured Poets Department’ Makes Charlie Puth a (Slightly) Bigger Artist
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Along with meditations on past relationships featuring thinly veiled lyrical subjects, Taylor Swift’s blockbuster new album The Tortured Poets Department includes multiple tips of the cap to other recording artists, with Swift either expressing admiration or remembering a pivotal musical exchange. The most memorable name-check arrives on the title track, on which Swift sings, “You smoked, then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist.”
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As The Tortured Poets Department barrels its way toward the biggest debut sales of the year — and one of the biggest of all time — it’s worth wondering: is Swift’s Puth shout-out actually about to make the “Attention” singer a bigger artist? Yes and no, based on the early streaming returns. In the first three days of release of The Tortured Poets Department (Apr. 19-21), Puth’s catalog earned 3.26 million official on-demand U.S. streams, according to Luminate. That’s an increase from the previous weekend’s streaming total for Puth, but only slightly: from Apr. 12-14, his catalog earned 3.13 million streams, meaning that Swift’s stamp of approval bumped his streams a little under 4%.
While Puth was already scoring seven-figure streams prior to the lyrical reference, two artists that also received nods on the album saw their smaller streaming totals skyrocket. The veteran Philly pop-punk group The Starting Line enjoyed a hefty catalog bump after getting shouted out on “The Black Dog,” with 234,000 streams from Friday to Sunday representing a 55% uptick from the previous weekend (151,000 streams).
And when a Swift song starts out with the lines “Drowning in the Blue Nile / He sent me ‘Downtown Lights’ / I hadn’t heard it in a while,” as “Guilty as Sin?” does, chances are that streams for “Downtown Lights” are going to explode. Indeed, the Scottish pop-rock group the Blue Nile’s 1989 single “The Downtown Lights” rose from 3,000 streams from Apr. 12-15 to over 48,000 streams from Apr. 19-22 — a whopping 1,400% increase from one four-day tracking period to the next. – JASON LIPSHUTZ
Bossman Dlow Tees Up Latest Hit With “Talk My Shit”
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Just under two months after “Get In With Me” reached No. 49 on the Billboard Hot 100 (chart dated March 9) – becoming the Florida rapper’s first entry on Billboard’s all-genre singles chart – Bossman Dlow is already gearing up for another viral hit.
Produced by DJ Jam305 and housed on Mr. Beat the Road, which reached No. 20 on the Billboard 200 (chart dated March 30), “Talk My Shit” follows a similar blueprint to “Get In With Me,” riding high on Dlow’s off-kilter flow, South Florida twang and a slightly ominous trap beat. According to Luminate, “Talk My Shit” earned 5.7 million official on-demand U.S. streams during the period of April 12-18. That marks a jaw-dropping 434% increase in streaming activity from three weeks earlier (March 22-28), when the song collected just over one million streams.
The explosive growth of “Talk My Shit” is due, in large part, to the cheeky TikTok dance trend choreographed to the chorus, specifically beginning with the line “Wrist piece on bling-blaow, neck piece on blizzard, bae.” The dance essentially converts the second half of the chorus into an instructional song through which users act out the lyrics – e.g., pointing to their wrist for “wrist piece on bling-blaow” — through popular dance moves. On TikTok, the official “Talk My Shit” sound boasts a whopping 466,000 posts, with several clips surpassing one million likes, including one featuring Paige Bueckers of the UConn Huskies women’s basketball team. On YouTube, the official “Talk My Shit” audio clip has earned nearly three million hits in about a month and half, far outpacing the other Mr. Beat the Road audio clips.
With its streams rising this quickly, “Talk My Shit” could gift Bossman Dlow his third Hot 100 entry of the year. – KYLE DENIS
Get Ready for Another Viral Kate Bush Moment
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Kate Bush has been one of the patron saints of TikTok and virality in general since at least 2022, when her “Running Up That Hill” became a resurrected hit – initially boosted by a big Stranger Things synch – thanks largely to the app. The last couple months, she’s had another revived single to her credit, albeit one probably significantly less familiar even to stateside fans who were around for “Hill” on the first go-round: “Army Dreamers,” third single from Bush’s 1980 album Never for Ever.
While “Dreamers” was a top 20 hit in the U.K., it was likely a little too challenging for U.S. top 40 audiences of the time, with its austere waltz arrangement, anti-war lyrics and piercing Bush vocal. Nonetheless, clips of the song – and in particular, its war-themed music video, featuring the singer-songwriter running through the jungle in military fatigues and full makeup – have been racking up views by the millions the past couple months. As a result, weekly official on-demand U.S. streams of the song have risen from under 80,000 for the tracking week ending Mar. 14 to nearly 1.1 million the week ending Apr. 18, according to Luminate – a cumulative gain of 1291%.
“Dreamers” still has a ways to grow before it’s a threat to run back up the charts the way Bush’s signature hit did a couple years ago. Then again, we do hear there’s a new season of Stranger Things coming our way shortly… – ANDREW UNTERBERGER
Tyla Seeks to Slay Second Consecutive Summer With Steamy “Jump” Single
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Last summer, “Water” catapulted Tyla into global pop stardom. This year, she’s looking to maintain that momentum with “Jump,” a breakout hit from her recently released self-titled debut studio album.
Alongside Grammy-nominated rapper Gunna and Jamaican dancehall star Skillibeng, Tyla spends “Jump” seductively cooing of the singularity of her sex appeal. Despite the album campaign focusing on “Truth or Dare” and “ART,” “Jump” has received considerable traction across both streaming and socials. During the period of April 12-18, “Jump” received 2.9 million official on-demand U.S. streams, continuing the steady growth it has displayed for the past month. For the past four works, “Jump” has remained over two million streams, increasing by an average of nearly 10% per week.
On TikTok, the official “Jump” audio boasts over 326,000 posts, bolstered, in large part, by a viral dance trend created by Zoe Baptiste (@zoebaptistee). Her infectious original choreography garnered 25 million views, sparking the song’s initial virality. Of course, many listeners noted “Jump” as an album highlight upon the release of Tyla due to its myriad earworm elements.
Just as the dance trend started to taper off, a second trend emerged, playing on the “They never had a pretty girl from Joburg / See me now, and that’s what they prefer” lines that opens Tyla’s verse. From replacing “Joburg” with their actual place of origin to gushing over the idiosyncratic way the South African singer pronounces “prefer,” TikTok users cannot get enough of the beginning of “Jump.” One user, Kelsey Maggott (@kelseymaggott), has gone viral for creating nearly 50 videos replacing “Joburg” with other countries and cities users have requested in her comment section. Even Kehlani has gotten in on the action.
With streams steadily gaining and a music video and live performances still on the table, be sure to keep an eye on “Jump” as the 2024 Song of the Summer race begins to heat up.
Q&A: Jim Selby, Chief Publishing Officer at Concord, on What’s Trending Up in His World
In late 2022, Concord purchased the publishing and recorded music catalog of Phil Collins and Genesis. Can you speak to the motivation behind the purchase?
I think it speaks for itself. Phil Collins, Mike Rutherford and Tony Banks are incredible talents who wrote some of the most influential songs, both together and individually. We have a long-standing relationship working with them since the days of Imagem – they’ve entrusted us with their work, and we’re honored to continue that.
We’ve already seen multiple revivals of “In the Air Tonight” across popular culture, including for Monday Night Football last fall. Why do you think the song has resonated with multiple generations of listeners?
It’s just iconic. I think everyone has a core memory that they can attach to that song. The combination of the power drumline with Phil’s vocals is so masterful and demands your attention, which I think is why it resonates so well when set to the screen. “In The Air Tonight” is so recognizably 80’s but it’s also dynamic. Phil even has a country radio No.1 single – with Kane Brown’s interpolation [“I Can Feel It”], it was exciting to see such a different use. It’s incredible how artists continue to be inspired by the song and get creative with it.
– What can we expect in the near future for “In the Air Tonight” and Collins’ catalog in general?
We expect more. New generations continue to discover Phil and his music and it’s exciting to see that connection. No Jacket Required turns 40 next year, maybe we’ll figure out what “Sussudio” means – get it added to the dictionary.
– Fill in the blank: a personal favorite Collins/Genesis song that deserves its own revival is ______.
Besides “In The Air Tonight,” of course, I think “I Can’t Dance” or “Follow You Follow Me” – these songs are both great but very different. They really show the versatility of Genesis and how the group adapted through the decades. – J.L.
Season’s Gainings: Death, Taxes and The Beatles
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Tax day was upon us two Mondays ago, and if this is the first you’re hearing about it, it might be time to close out of this article and start drafting an email to the IRS. If you were on it, though, then maybe you were also one of the thousands that chose a particular Beatles deep cut for your soundtrack while kicking a percentage of your annual income up to Uncle Sam. The Fab Four’s Revolver-opening “Taxman” – inspired by an eye-popping 95% supertax the band was suddenly facing following the 1966 re-election of U.K. prime minister Harold Wilson (as in “ha ha, Mr. Wilson”) – received nearly 24,000 official on-demand U.S. streams on April 15, according to Luminate, a 31% gain from the day before. – A.U.
21 Savage banks his seventh total – and second non-collaborative – No. 1 on Billboard’s Rhythmic Airplay chart as “Redrum” charges from No. 4 to lead the list dated April 27. The single reigns thanks to a 13% surge in plays that made “Redrum” the most played song on U.S. monitored rhythmic radio stations in the tracking week of April 12-18, according to Luminate.
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“Redrum” — which references the film The Shining — takes the summit from Jack Harlow’s “Lovin on Me.” The previous champ crowned the chart for 10 weeks in three separate stints: It first ruled for six consecutive weeks in January-February, another two-week stretch in March and the last pair of weeks in April.
WHZT-FM, in Greenville, S.C., leads the charge among all reporting stations for the most “Redrum” plays in the week, while WKHT-FM in Knoxville, Tenn., ranks second. The largest weekly increase, meanwhile, belongs to KHTN-FM, based in Modesto, Calif.
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As “Redrum” advances, 21 Savage earns his seventh Rhythmic Airplay No. 1 and second of 2024, after he and Baby Tate featured on JID’s “Surround Sound,” a one-week champ in March. Here’s a summary of his seven leaders:
Song Title, Artist (if other than 21 Savage), Weeks at No. 1, Date Reached No. 1
“Rockstar,” Post Malone featuring 21 Savage, six, Nov. 11, 2017
“A Lot,” two, April 20, 2019
“Jimmy Cooks,” Drake featuring 21 Savage, one, Oct. 8, 2022
“Rich Flex,” with Drake, two, Jan. 28, 2023
“Creepin’,” with Metro Boomin & The Weeknd, three, Feb. 11, 2023
“Surround Sound,” JID featuring 21 Savage & Baby Tate, one, March 9, 2024
“Redrum,” one (to date), April 27, 2024
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With the Rhythmic Airplay crown secured, “Redrum” next looks to conquer Rap Airplay, where it ascends 3-2 and adds 3% in audience impressions. It also makes progress on Pop Airplay, holding at No. 37 for a second straight week, but with a 9% improvement in plays for the week at mainstream top-40 stations. Gains at the rhythmic and pop formats spur its 28-27 bump on the all-genre Radio Songs chart, where it added 3% in total audience to reach 20.7 million in the tracking week.
“Redrum” appears on 21 Savage’s latest studio album, American Dream. The set, released in January, topped the all-genre Billboard 200 for two weeks and posted three weeks at No. 1 on the Top R&B/Hip-Hop Albums chart, becoming the rapper’s fourth consecutive leader on each list.
